Siblings Sarah Siddons (1755–1831) and John Philip Kemble (1757–1823) were the most famous British actors of the late-18th and early-19th centuries. Through their powerful acting and meticulous conceptualisation of Shakespeare’s characters and their worlds, they created iconic interpretations of Shakespeare’s major roles that live on in our theatrical and cultural memory. This book examines the actors’ long careers on the London stage, from Siddons’s debut in 1782 to Kemble’s retirement in 1817, encompassing Kemble’s time as theatre manager, when he sought to foreground their strengths as Shakespearean performers in his productions. Over the course of more than thirty years, Siddons and Kemble appeared opposite one another in many Shakespeare plays, including King John , Henry VIII , Coriolanus and Macbeth . The actors had to negotiate two major Shakespeare scandals: the staging of Vortigern – a fake Shakespearean play – in 1796 and the Old Price Riots of 1809, during which t
In the eighteenth century, Shakespeare became indisputably the most popular English dramatist. Published editions, dramatic performances and all kinds of adaptations of his works proliferated and his influence on authors and genres was extensive. By the second half of the century Shakespeare's status had been fully established, and since that time he has remained central to English culture. Shakespeare in the Eighteenth Century explores the impact he had on various aspects of culture and society: not only in literature and the theatre, but also in visual arts, music and even national identity. The eighteenth century's Shakespeare, however, was not our Shakespeare. In recovering the particular ways in which his works were read and used during this crucial period in his reception, this book, with its many illustrations and annotated bibliography, is the clearest way into understanding this key phase in the reception of the playwright.
Fiona Ritchie analyses the significant role played by women in the construction of Shakespeare's reputation which took place in the eighteenth century. The period's perception of Shakespeare as unlearned allowed many women to identify with him and in doing so they seized an opportunity to enter public life by writing about and performing his works. Actresses (such as Hannah Pritchard, Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons), female playgoers (including the Shakespeare Ladies Club) and women critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth Griffith and Elizabeth Inchbald), had a profound effect on Shakespeare's reception. Interdisciplinary in approach and employing a broad range of sources, this book's analysis of criticism, performance and audience response shows that in constructing Shakespeare's significance for themselves and for society, women were instrumental in the establishment of Shakespeare at the forefront of English literature, theatre
In the eighteenth century, Shakespeare became indisputably the most popular English dramatist. Published editions, dramatic performances and all kinds of adaptations of his works proliferated and his influence on authors and genres was extensive. By the second half of the century Shakespeare's status had been fully established, and since that time he has remained central to English culture. Shakespeare in the Eighteenth Century explores the impact he had on various aspects of culture and society: not only in literature and the theatre, but also in visual arts, music and even national identity. The eighteenth century's Shakespeare, however, was not our Shakespeare. In recovering the particular ways in which his works were read and used during this crucial period in his reception, this book, with its many illustrations and annotated bibliography, is the clearest way into understanding this key phase in the reception of the playwright.
Fiona Ritchie analyses the significant role played by women in the construction of Shakespeare's reputation which took place in the eighteenth century. The period's perception of Shakespeare as unlearned allowed many women to identify with him and in doing so they seized an opportunity to enter public life by writing about and performing his works. Actresses (such as Hannah Pritchard, Kitty Clive, Susannah Cibber, Dorothy Jordan and Sarah Siddons), female playgoers (including the Shakespeare Ladies Club) and women critics (like Charlotte Lennox, Elizabeth Montagu, Elizabeth Griffith and Elizabeth Inchbald), had a profound effect on Shakespeare's reception. Interdisciplinary in approach and employing a broad range of sources, this book's analysis of criticism, performance and audience response shows that in constructing Shakespeare's significance for themselves and for society, women were instrumental in the establishment of Shakespeare at the forefront of English literature, theatre
A thorough introduction to Celtic music furnishes an A-to-Z glossary of musical terminology, lists of essential CDs, a history of the art form and its profound influence on modern music, and profiles
